Save money and get into work sooner with an accelerated musical theatre degree at the International College of Musical Theatre, or if you’re a European student looking for international work, the ICMT has a course for that too
At the International College of Musical Theatre, being a successful triple threat is not just about the West End. With campuses in London, Rome, Belfast and New York, the ICMT is on a mission to make musical theatre training accessible to everyone regardless of background or location.
The college is constantly updating and evolving its offering to students and has recently created two new courses with accessibility in mind. The two-year accelerated BA (Hons) Degree in Musical Theatre Performance, in collaboration with Coventry University, takes all the rigorous training of a traditional three-year programme and condenses it into a shorter period, while the EU Bespoke Course provides a training option for European citizens who are no longer able to work in the UK since Brexit.
The two-year degree in Musical Theatre Performance, explains ICMT’s principal and co-founder Kenneth Avery-Clark, was designed to save students time and money, while still offering access to top-tier training.
“If you were on a three-year degree there’s a lot of time when you’re not studying,” he says. “The two-year course takes a lot of the self-study and long holiday periods and puts it back into training. This means saving approximately £10,000 alone on that third year of living expenses. The degree makes the best use of your time and finances.”
‘You’re going into a practical industry. You don’t learn to be a chef in a classroom, you learn in a kitchen’
Avery-Clark stresses that the two-year course has the same amount of teaching and contact time as a three-year course. It was developed after extensive research by ICMT, in consultation with students and practitioners. She adds: “95% of students (who took a three-year degree course) said they would have preferred to do their training in two years to get into the industry sooner.”
Just like all the programmes at ICMT, students are taught by current industry professionals who have the most up-to-date knowledge and experience within the industry, and the focus of the course is on practical elements.
“It’s completely practical training,” says Avery-Clark, “which makes us different from traditional university courses. There’s little written work, because, ultimately, you’re going into a practical industry. You don’t learn to be a chef in a classroom, you learn in a kitchen. Equally, if you’re going to be a performer you have to learn to perform.”
The two-year degree programme allows students to hit the ground running and keeps them at a peak of performance ability. “Normally we take nearly a month off at Christmas and it’s a hard slog for students to get back into body conditioning and dance classes following the break. On the two-year course you don’t have the peaks and troughs of slowing down and then having to speed back up again. You maintain a peak of physical fitness throughout.”
One of the things that sets ICMT apart from other training institutions is its family feel. When students graduate, they remain part of the ICMT family. They are encouraged to keep in touch and to come back and use the facilities. “People who graduate from the ICMT don’t just get set loose into what can be the scary world of showbusiness. We make sure they are mentored and feel like they can always touch base with us if they need some extra support.”
The second new offering from the ICMT is the EU Bespoke Course, aimed at European students who, in the aftermath of Brexit, are no longer able to work in the UK. Again, the focus is on making musical theatre training accessible to all. The course takes advantage of the ICMT’s extensive international presence to allow students to split their study between London and Rome, as well as a German component and a week at the ICMT’s New York campus (in the second year) so they learn about the musical theatre industry in different countries.
“We are always adapting to the world around us,” says Avery-Clark. “Our European students can’t now work in London and for many who dreamed of performing in the West End that is no longer an option. What we say is, change the dream! Musical theatre is no longer just about the West End. Germany has the third largest musical theatre industry in the world. It’s well paid and well supported. There are fantastic opportunities in Japan, South Korea, and China with the musical theatre scenes growing at a fast rate. Musical theatre is an international business. We want our students to be thinking globally.”
‘At the ICMT, you are a name not a number’
Students will learn some German as part of the course, putting them at a huge advantage when it comes to auditions – the aim is to make sure students are equipped no matter where they are auditioning in the world. “You’re exposed to different cultures, and all aspects of the business, always surrounded by people currently working in the industry.”
Whatever course you are on at the ICMT, there is an equal emphasis on all three disciplines: singing, dancing and acting. But the college also provides in-depth insight into the business side of the industry. “That’s really important,” says Avery-Clark. “You need to know how to write to agents and casting directors or do self-tapes. We will teach you how it all works. And because all our teachers are in the industry, we can help with the networking side, too. They know about how the industry works today.”
So who should apply for ICMT? For Avery-Clark, it’s clear: “We don’t take ‘types’, we take individuals. We don’t want a conveyor belt of students who end up acting, singing, dancing and looking the same.”
What does an individual mean? “Well firstly, we take the time to get to know you. We keep our class sizes small to ensure that, at the ICMT, you are a name not a number. We want to nurture what you bring to the table and won’t reshape you or cut you down and build you back up into something different. We see your strengths and we see what we can work on and nurture that. The most important thing is that we want to celebrate individuality. It’s not for us to decide who you want to be. It’s for us to find the magic you might not even know you possess.”
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